To start, your organic intersections are looking great. You're doing an excellent job of capturing how the forms wrap around one another in a believable fashion. You convey a strong respect for how each individual one is a solid, three dimensional form, with their own volume and thickness, rather than treating them as though they're flat shapes being integrated into a two dimensional drawing.

This is still something you're struggling with in your animal constructions. As your fox was actually largely a successful drawing, I decided to write notes on top of it specifically.

The main issue is that the masses you've added along its back are first drawn as flat shapes, then made somewhat 3D by adding contour lines. The thing is, contour lines that run along the surface of a single form, unlike those we use to define the joints between sausage forms, don't tell us anything about the relationship of this form with the forms around it. This, when adding additional masses, can only be achieved by considering it while we draw its silhouette/initial shape. So if you look at my own, you'll see that I haven't used a single contour line - and yet the way the silhouette wraps around the underlying structure still makes the form feel three dimensional.

You also need to consider the fact that these forms come with their own volume and thickness. As you can see in these notes for another student, this means that they create a lot of these "pinches", rather than smoothly integrating with the silhouette of the underlying structure.

A couple more things to keep in mind:

• Don't cut back into the 2D silhouettes of your shapes. I discussed this in my last critique when explaining additive and subtractive construction. In this case, I'd work additively, as I did in the demonstration I drew above your fox.

• The head of your fox was largely done quite well with an overall strong grasp of form and construction, but make sure that you're drawing your eyesocket/eyeball larger. All of these components - the eyesocket, muzzle, brow ridge, etc. in the head and the other additional masses throughout the body - should fit together like pieces of a 3D puzzle, not float independently of one another.

• Keep working on your use of the sausage method. You improve as you go through the set but it's important to be mindful of hitting all the major points of the technique, lest you slip back into old habits.

Lastly, I am noticing a tendency to draw in your initial masses more lightly, then go back over them later with visibly darker lines. Don't do this. We are not treating the earlier steps of construction as though they are somehow an underdrawing that is meant to be discarded afterwards. Each step is a part of the final drawing, and if there are elements that are captured at those earliest stages, then there is no need to replace its lines with something darker. It should have been drawn with the same confidence from the beginning. You'll notice that in my construction, there's no such underdrawing visible.